The 19th Step Development Day 10, Marking out the performance

These two images capture the trio between Sarah on flute and Marina and Rose performing their hexagon tracings and spelling out words from their alphabet.

Scott, Richard, Marcus and Dylan develop the equation duel.
Dorothy exploring ideas for percussion with Scott
Ideas for using the two triangles may be this is the Aleph point and becomes a screen for two projections?

The performers practicing their a voice piece.
Books gradually being covered in 'maths book yellow' begin to inhabit the space. This clip shows Scott and Richard on Percussion and Horn exploring sound ideas for the equation duel developing with Marcus and Dylan.

Design for front of publicity card, I think this could be the one??

hello this is my favourite any thoughts....

triangularity

Picking up on Marcus' mention of '1,2,3,lots...' and triangles, I woke up thinking about the triangularity we will have with our 3 dancers and 3 musicians. Three is the minimum number with which to produce a meaningful dimensionality of sound in an ensemble but with three you can start to approach a sense of 'lots'.

Put the two ensembles together and we have...lots, and with Marcus that makes... more lots. Then with mirrors and projection...lots and lots...

Amongst the ways I want to deploy the three musicians, one is to place them spaced apart on three sides of the periphery of the space, essentially forming a 'triangle'(but perhaps conceived more as a 'circle'), to get a sense of a dynamic spatialisation of the sound. Syllables flying across the space. The challenge in scoring this is that the performers need to have some independent means of rhythmic organisation if they are to produce a tight rhythmic structure without being conducted. I would also like to do this vocally, with all the performers: in this case using each performer's pulse rate to achieve multiple tempi - a real sense of lots can be achieved this way.

At the other extreme, I want to place them close together and facing in, to perform a variety of 'games' that signify dice-throwing in different ways. One of these is permutations of three points. Another is a kind of 'paper-scissors-rock' idea that produces endlessly permutating chords. These will be potentially infinite. They will just start and stop spontaneously. We can play with ways to vary and mutate them.

Other ways of conceptualising and organising 'three': two musicians, one dancer. Two dancers, one musician. Marcus on trumpet makes four musicians.

Infinity Dance of Carols made me think of Whirling Dervish

Remembered seeing Whirling Dervish in Cairo apparently Dervish means Doorway

As explained by Sufis:

At the beginning of the Sema, by holding his arms crosswise, the semazen appears to represent the number one, thus testifying to God's unity. While whirling, his arms are open: his right arm is directed to the sky, ready to receive God's beneficence; his left hand, upon which his eyes are fastened, is turned toward the earth.

Quoting From Marcus
"In the essays in my addition of Labyrinths there is an essay by Borges dedicated to The Fearful Sphere of Pascal. It traces back how the sphere has been an important symbol for many philosophers. Parmenides: The divine being is like the mass of a well-rounded sphere whose force is constant from the centre in any direction. The music of the spheres. Kepler's model of the universe as interconnected spheres."

19th step Performance Sketch 3

Here's another idea using screens, the screens also spell out MCV an impenetrable book,
"For a long time it was believed that these impenetrable books corresponded to past or remote languages. It is true that the most ancient men, the first librarians, used a language quite different from the one we now speak; it is true that a few miles to the right the tongue is dialectical and that ninety floors farther up, it is incomprehensible. All this, I repeat, is true, but four hundred and ten pages of inalterable MCV's cannot correspond to any language, no matter how dialectical or rudimentary it may be. Some insinuated that each letter could influence the following one and that the value of MCV in the third line of page 71 was not the one the same series may have in another position on another page, but this vague thesis did not prevail. Others thought of cryptographs; generally, this conjecture has been accepted, though not in the sense in which it was formulated by its originators."

I was imagining the M and the C to be made from plastic or paper and could be projected onto. They could be hung or built to freestand. I also had an idea the C could be movable if it was made from polystyrene or the paper or plastic screen could move on a rail. I thought it would be interesting if the V mad a low platform that performers could get onto. I also thought Marcus could draw with his elongated chalk from the platform, onto the blackboard circle at the centre?